The OA is one of those things that you’ll either absolutely love or loathe. If you like sprawling supernatural shows (like Lost) with Biblical references (like Supernatural), then the OA should be right up your alley. It’s philosophical and dramatic, asking questions about existence and the afterlife, and it has plenty of mystery to keep you tuned in for more. The performances are great, too, with Jason Isaacs playing yet another memorable villain and Brit Marling playing a likable lead. Even supporting actors like Brandon Perea and Phyllis Smith get short but compelling roles. However, if you’re not a fan of talky, self-serious, long-winding stories, then maybe it’s best to look elsewhere.
"The show's surprise arrival also mirrors the show's narrative approach, which is dazzling in its insistence on avoiding straight lines and favoring hairpin turns."
— Jen Chaney
"The OA's dual-narrative structure, which sees a group of people returning night after night to sit in a cold house and listen to a story, similarly invokes the power of (and our need for) older forms of ritual, performative connection."
— Sophie Mayer
Seven years after vanishing from her home, a young woman returns with mysterious new abilities and recruits five strangers for a secret mission.
When Prairie Johnson (Brit Marling) resurfaces after almost a decade of mysteriously disappearing, people are shocked to learn that her blindness has been cured. But Prairie also brings with her unbelievable stories about the afterlife, which tests the faith of her five new followers.
The infamous season one finale, if you reach it, will be seared into your brain whether you want it to or not.
You’ll never run out of “what the heck is happening” moments here, that’s for sure.
WGA
1 nomination
